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- . (. 4) . , (. 5), , . , , .

- - . ; , , - , , - , - . , , , .46 , .. 4 . .. - .47 (. 5) , - . , - , , , . . 52368 (. 6-7).48 , . . . , . -, , .

, , .

- . - - , , - . - Plovdiv, Regional Museum of Archaeology (. 8).49 , . , -, .50

. 8. . Plovdiv, Regional Museum of Archaeology

(.: Regional Museum of Archaeology).

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- - . ,51 .52 - , . - , .

53 , , Lewis, - .54 , 460 430/25 ..,55 -, , .56 , - .57 , - , - , , - - . - - , -, , . , .58 Lewis , , .59

Lewis - , . - , , , , , , . Lewis, , -

. 9. . , Museo Archeologico Nazionale,

. . 137885 [.: Bol (. 12) . 27 c].

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This paper deals with the iconography and interpretation of the scenes that decorate two red-figure skyphoi by the skyphoi by the skyphoiPenelope Painter, which share some striking similarities. One is kept in the Kunstsammlungen der Ruhr-Univer-sitt in Bochum (inv. no. S 1197, figs 1-3), the other at the Ashmolean Museum in Oxford (inv. no. 288, figs 4-5). As in the case of several other works by the same painter, the scenes on the two sides of each of our vases form a con-tinuous narrative. The skyphos in Bochum shows a box-ing contest, together with an inscription that may name the winner, while the Oxford skyphos depicts a wrestling skyphos depicts a wrestling skyphosscene. The most striking element on the former is a female figure supporting a tripod. This sculptural group, the tri-pod supported by a statue (cf. fig. 9), is apparently the prize for the winner of the contest depicted. Similar works have actually survived, though they are better known to us through literary sources (cf. Pausanias III.18.6-8). The second female figure in the scene stands to the left of the tripod and holds the forked staff that is typical of officials at athletics contests; this figure could be interpreted as a personification, e.g. Agonothesia. Nonetheless, the scene on the Bochum skyphos could equally be associated with a skyphos could equally be associated with a skyphosspecific boxing contest, that of the Panionia, held in hon-our of Apollo on Delos and revived by the Athenians in 426 BC. In that case, the woman with the staff could be interpreted as the personification of Theoria, while the fe-

male statue could represent the personification of Delos.As for the scene depicted on the skyphos in Oxford, it skyphos in Oxford, it skyphos

includes two Nikai, one of whom gestures emphatically towards the wrestler to the left, suggesting that he is the winner of the competition. The second Nike is rather un-usual, not only in that she is sitting atop a tall pillar, but also in that she is resting her chin and right cheek on her right hand. This well-known gesture denotes, among other things, a state of grief. However, one should not necessarily assume that this Nike points to the defeat of the wrestler on the right. According to ancient literary and iconographic evidence (figs 6-7), in several ancient Greek athletics com-petitions that were, apart from the overall winner, also second and third placements. The sad Nike on our vase must, therefore, be alluding to the second winner. In other words, the multiple depiction of Nikai on vase-paintings, such as the one decorating the Oxford skyphos, should not necessarily be understood as intended to emphasize the no-tion of outright victory. At least in some cases, the presence of more than one Nike must reflect the second and third winners or even different victories achieved on different oc-casions. This latter possibility is attested by the scene on the main face of the well-known Attic red-figure pelike by the pelike by the pelikeEpimedes Painter in Plovdiv (fig. 8). The paper concludes with some remarks on the workshop of the Penelope Painter and his master, the Lewis Painter.

MICHAEL TIVERIOSIconography and interpretation of the scenes on two red-figure skyphoi

by the Penelope Painter